The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist
(eBook)

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The University of Chicago Press, 2015.
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Available Online

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0m 0s
Format
eBook
Language
English
ISBN
9780226195353

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APA Citation, 7th Edition (style guide)

Tom Beghin., & Tom Beghin|AUTHOR. (2015). The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist . The University of Chicago Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Tom Beghin and Tom Beghin|AUTHOR. 2015. The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist. The University of Chicago Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Tom Beghin and Tom Beghin|AUTHOR. The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist The University of Chicago Press, 2015.

Harvard Citation (style guide)

Tom Beghin. and Tom Beghin|AUTHOR. (2015). The virtual haydn: paradox of a twenty-first-century keyboardist. The University of Chicago Press.

MLA Citation, 9th Edition (style guide)

Tom Beghin, and Tom Beghin|AUTHOR. The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist The University of Chicago Press, 2015.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work IDd575b132-b40f-fb23-3de7-a33653e2a5b7-eng
Full titlevirtual haydn paradox of a twenty first century keyboardist
Authorbeghin tom
Grouping Categorybook
Last Update2024-09-25 21:31:15PM
Last Indexed2025-03-15 07:11:16AM

Book Cover Information

Image Sourcehoopla
First LoadedAug 19, 2024
Last UsedAug 19, 2024

Hoopla Extract Information

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    [synopsis] => Haydn's music has been performed continuously for more than two hundred years. But what do we play, and what do we listen to, when it comes to Haydn? Can we still appreciate the rich rhetorical nuances of this music, which from its earliest days was meant to be played by professionals and amateurs alike?

 With The Virtual Haydn, Tom Beghin-himself a professional keyboard player-delves deeply into eighteenth-century history and musicology to help us hear a properly complex Haydn. Unusually for a scholarly work, the book is presented in the first person, as Beghin takes us on what is clearly a very personal journey into the past. When a discussion of a group of Viennese sonatas, for example, leads him into an analysis of the contemporary interest in physiognomy, Beghin applies what he learns about the role of facial expressions during his own performance of the music. Elsewhere, he analyzes gesture and gender, changes in keyboard technology, and the role of amateurs in eighteenth-century musical culture.

 The resulting book is itself a fascinating, bravura performance, one that partakes of eighteenth-century idiosyncrasy while drawing on a panoply of twenty-first-century knowledge.
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